Comedy is the color of civilization, the fruit of a developed public. To understand the comic, one must be at a high level of education.
V. G. Belinsky

Social (ideological) satirical comedy based on the Woe from Wit genre. The theme of this work is an image of a socially significant collision of the "present century", which wants to replace the old social order, correct the mores of society, and the "past century", afraid of any social changes, because these changes really threaten its well-being. That is, the comedy describes the clash of the progressive and reactionary nobility. The named social contradiction is the main one for the era that came after Patriotic War 1812, which exposed many of the fundamental vices of Russian society. First of all, it was, of course, absolutism, serfdom, bureaucracy, cosmopolitanism.

"Woe from Wit" is an ideological comedy, since Griboyedov pays much attention to the heroes' disputes on the most pressing social and moral issues of their time. At the same time, the playwright cites the statements of both Chatsky, who expresses progressive views, and Famusov, Skalozub, Molchalin and guests who defend a conservative point of view.

The most important issue in contemporary Russia for Griboyedov was the issue of serfdom, which was the basis of the economic and political structure of the state. Chatsky, it must be admitted, does not oppose the serf system, but boldly condemns the abuses of the serfs, as evidenced by the famous monologue "Who are the judges?" The hero mentions "Nestor of the noble scoundrels", who exchanged his serf servants for three greyhounds, although Zealous, they saved his honor and his life more than once during the hours of wine and fights ... (II, 5) Chatsky also speaks about the owner serf theater: having gone bankrupt, he sold his serf artists one by one.

All the arguments about the cruelty of serfdom do not touch the representatives of the Famus society - after all, all today's well-being of the nobility is built on serfdom. And how easy it is to manage and push around completely powerless people! This can be seen in the house of Famusov, who sticks to Liza, scolds the servants, is free to punish them all, when and how he pleases. This is evidenced by the behavior of Khlestova: she orders to feed her dog in the kitchen and, at the same time, the little girl. Therefore, Famusov simply does not answer to the angry attacks of Chatsky against the serf-owners and leaves the room, while Skalozub from the monologue "Who are the judges?" caught only the condemnation of the guards uniform embroidered with gold (!) and agreed with this.

Chatsky, like Griboyedov, believes that the dignity of a nobleman is not in being a serf, but in being a faithful servant of the Fatherland. Therefore, Chatsky is convinced that it is necessary to serve "the cause, not the persons" (II, 2). To Famusov's advice to serve, he reasonably replies: "I would be glad to serve, it is sickening to serve" (ibid.). Representatives of Famus society have a completely different attitude to service - for them it is a means of achieving personal well-being, and the ideal is an idle life for their pleasure. Therefore, Pavel Afanasyevich with such enthusiasm talks about his uncle Maxim Petrovich, who rose to the rank of chamberlain, entertaining Catherine with jester's numbers. "AND? How do you think? In our opinion, he's smart, ”exclaims Famusov. Skalozub echoes him:

Yes, to get ranks, there are many channels;
As a true philosopher, I judge about them:
I would only get a general. (II, 5)

Molchalin advises Chatsky:

Well, really, what would you like to serve in Moscow?
And take awards and have fun? (III, 3)

Chatsky respects smart, efficient people, he is not afraid to commit bold deeds. This can be judged by Molchalin's vague hints about Chatsky's St. Petersburg activities:

Tatyana Yurievna told something,
Returning from Petersburg,
With the ministers about your connection,
Then a break ... (III, 3)

In Famus society, people are valued not for personal qualities, but for wealth and family ties. Famusov proudly speaks about this in his monologue about Moscow:

For example, we have been doing it from time immemorial,
What honor is there for father and son;
Be inferior, but if you have enough
There are two thousand generic souls, -
He and the groom. (II, 5)

People in this circle worship foreigners and foreign culture. However, the low level of education allows the Countess-granddaughter of Khryumina, the princesses Tugoukhovsky to understand only French fashion - they excitedly discuss folds and fringes on new outfits at the ball. Chatsky in his statements (especially in the monologue "In that room is an insignificant meeting ..." III, 22) very sharply condemns the servility before abroad. On the contrary, he acts as a patriot of Russia and believes that national history It is in no way inferior to, for example, the French, that the Russian people are "smart, cheerful" (ibid.), that, respecting another's culture, one should not neglect one's own.

Famus society has a fear of genuine enlightenment. It associates all troubles with books and "learning." This opinion is formulated very clearly by Pavel Afanasevich himself:

Learning is the plague, learning is the reason
What's more important now than when
Insane divorced people, and deeds, and opinions. (III, 21)

All the guests are in a hurry to agree with Famusov on this issue, here everyone has words: from Princess Tugouhovskaya, and from old woman Khlestova, even from Skalozub. Chatsky as a spokesman cutting edge ideas of his time, he cannot agree with such views of Famusov and his guests. On the contrary, he respects those

Who is the enemy of discharged persons, pretentious, curly words,
In whose, unfortunately, head
Five, six, there are healthy thoughts,

And he will dare to publicly declare them ... (III, 22) A frivolous attitude to the education and upbringing of noble children naturally follows from the disregard of the Famus society for education and sciences. Loving parents

They bother to recruit regiments teachers;
More in number, at a cheaper price ... (I, 7)

Foreigners with a dubious pedagogical reputation become the educators of the noble ignoramuses. The sad result of such a system of education (admiration for Europe and contempt for the Fatherland) can be observed in the third act:

Oh! France! There is no better edge in the world!
Decided two princesses, sisters, repeating

The lesson that they have done from childhood. (III, 22) Since love line is one of two plot-forming, insofar as the comedy also deals with relations in noble families. The Gorichey couple becomes an exemplary family for the Famus society. Gorich's "ideal husband" turns into a plaything for his capricious wife. Chatsky makes fun of such a relationship, and Platon Mikhailovich himself complains about his life, boring, monotonous, empty (III, 6).

"Woe from Wit" is a satirical comedy, because in it the socially significant vices of the heroes are ridiculed. Almost all the characters in the play are described satirically, that is, their external good-looking appearance hides their inner emptiness and minor interests. Such is, for example, the image of Skalozub - an undeveloped man, a soldier, who, however, “marks the generals” (I, 5). This colonel is well versed only in uniforms, orders, cane discipline. His tongue-tied phrases indicate primitive thinking, but this "sage" is the hero of all living rooms, the desired fiancé of his daughter and relative for Famusov. Molchalin is depicted satirically - an outwardly quiet, modest young official, but in the last frank conversation with Lisa he is revealed as a low hypocrite:

My father bequeathed to me:
First, to please all people without exception -
The owner, where he will live,
The chief with whom I will serve,
To his servant who cleans dresses,
To a Swiss, a janitor, to avoid evil,
To the janitor's dog, to be affectionate. (IV, 12)

Now all his talents acquire a different meaning: he appears before the characters of the play and the readers as a man without honor and conscience, ready for any baseness for the sake of a career. Repetilov has a satirical character. This one hints at a secret society, at some important state task, but it all comes down to the empty noise and shouting of his drinking companions, because so far an important "state matter: It, you see, has not matured" (IV, 4). Of course, Famusov's guests are also satirically presented: the gloomy old woman Khlestova, absolutely stupid princesses, faceless gentlemen N and D, the sly Zagoretsky. An exhaustive description is given to all of them by the Countess-granddaughter:

Well Famusov! I knew how to name the guests!
Some freaks from the other world

And there is no one to talk to, and no one to dance with. (IV, 1) Satirically depicts Griboyedov and Chatsky: this enthusiast preaches noble ideas in Famusov's living room in front of smug and empty people who are deaf to the preaching of goodness and justice. This unreasonable behavior of the protagonist was pointed out by A.S. Pushkin in his response to "Woe from Wit" (a letter to A.A. Bestuzhev at the end of January 1825).

However, the ending of the satirical work is not only not funny, but even dramatic: Chatsky lost his beloved girl, whom he dreamed of for three years in separation; he is declared insane, and he is forced to leave Moscow. Why did Griboyedov call his play a comedy? This question is still being discussed in literary criticism. It seems that the best interpretation of Griboyedov's idea is given by IA Goncharov in his article “A Million of Torments”: calling “Woe from Wit” a comedy, the playwright wanted to emphasize the optimism of his work. In the struggle between the "present century" and the "past century" the Famusian society wins only outwardly. Chatsky, the only one defending progressive ideas, is broken by the "amount of the old force", while he himself dealt a fatal blow to it - after all, ideological opponents could not object to all his criticisms and reproaches on the merits and, without thinking twice, declared him crazy. Chatsky, according to Goncharov, refutes the Russian proverb: one in the field is not a warrior. A warrior, argues Goncharov, if he is Chatsky, and a winner, but at the same time a victim.

So, "Woe from Wit" is extremely informative piece of art... The comedy is saturated with concrete vital material of the Griboyedov era, reflects the political struggle of its time, the struggle between the advanced part of the nobility and the inert majority. The playwright raised in a small play the most important social problems (about serfdom, about the appointment of the noble service, about patriotism, about upbringing, education, family relations among the nobility, etc.), presented opposing points of view on these problems.

Serious and multi-problem content determined the genre originality of the work - a public (ideological) satirical comedy, that is, a high comedy. The importance of the social problems raised in Woe from Wit becomes clear when comparing this work with other plays of the same time, for example, with the popular everyday comedies by IA Krylov “A Lesson for Daughters”, “French Shop”.

Essay plan

1. Introduction. Genre definition of Griboyedov's play "Woe from Wit" by Russian critics.

2. The main part. Features of various genres in the play.

The linguistic element of the comic in the play.

? "Woe from Wit" as a comedy of characters.

? "Woe from Wit" as a sitcom. The motive of the fall and its comic meaning.

? "Woe from Wit" as a sitcom. The motive of deafness and its comic meaning.

Parody effects of the play.

? "Woe from Wit" as a satire and political comedy.

The features of the drama in the comedy of Griboyedov.

3. Conclusion. Synthesis of genres presented in the play.

Comedy "Woe from Wit" by A.S. Griboyedova destroyed traditional genre principles. In sharp contrast to classic comedy, the play was not, however, based on a love affair. It could not be attributed to the genre of everyday comedy or comedy of characters in its purest form, although the features of these genres were also present in the work. The play was, as contemporaries said, "high comedy", the genre that the Decembrist literary circles dreamed of. Woe From Wit combined social satire and psychological drama; comic scenes were replaced by high, pathetic scenes. Let's try to consider genre features plays in more detail.

First of all, let's note the elements of the comic in the work. It is known that Griboyedov himself called "Woe from Wit" a comedy. And here, of course, it is worth noting the presence in the play and explicit comic devices and latent author's irony. The linguistic comic devices of the playwright are hyperbole, illogism, ambiguity, the method of bringing to the point of absurdity, distortion foreign words, the use of foreign words in the Russian speech of characters. So, we notice the hyperbole in the remarks of Molchalin, who seeks to please "the janitor's dog, so that it was affectionate." This technique has something in common with the technique of bringing to the point of absurdity. So, discussing with the guests Chatsky's madness, Famusov notes the “hereditary factor”: “I went by my mother, by Anna Aleksevna; The deceased went mad eight times. " In the speech of the old woman Khlestova there is an illogism: "There was a sharp man, had three hundred souls." She determines Chatsky's personality traits by his condition. Ambiguities are heard in the speech of Zagoretsky, who condemns the fabulists for “… eternal mockery of lions! over the eagles! " At the end of his speech, he declares: "Whoever say what: Although animals, they are still kings." It is this line that equates “kings” and “animals” that sounds ambiguous in the play. The comic effect is also created due to the distortion of foreign words by the author (“Yes, it’s not in Madame’s strength,” “Yes, from Lankart mutual learning”).

Woe from Wit is also a comedy of characters. The image of Prince Tugoukhovsky, who, suffering from deafness, misunderstands those around him and distorts their remarks, is comedic. An interesting image of Repetilov, who is both a parody of Chatsky, and at the same time the antipode of the main character. There is also a character in the play with a “speaking” surname - Skalozub. However, all his jokes are crude and primitive, this is a real "army humor":

I am Prince Gregory and you
Feldwebel to Ladies Voltaire,
He will build you in three lines,
And make a sound, it will calm you down in an instant.

Skalozub is not witty, but, on the contrary, dumb. A certain element of the comic is also present in the character of Chatsky, whose "mind and heart are out of tune."

The play has features of a sitcom, parody effects. Thus, the author repeatedly plays up two motives: the motive of falling and the motive of deafness. The comic effect in the play is created by the fall of Repetilov (he falls at the very entrance, running into the house of Famusov from the porch). Chatsky fell several times on his way to Moscow ("More than seven hundred versts swept by - wind, storm; And he was completely confused, and fell how many times ..."). Famusov tells about the fall of Maxim Petrovich at a social event. Molchalin's fall from his horse also causes a violent reaction from those around him. So, Skalozub declares: "Look how he cracked - chest or side?" The fall of Molchalin reminds him of the fall of Princess Lasova, who "recently got hurt" and is now "looking for a husband for support."

The motive of deafness sounds already in the first appearance of the play. Already at the first appearance, Liza, unable to get through to Sofya Pavlovna, asks her: “Are you deaf? - Alexey Stepanych! Madame! .. - And fear does not take them! " Famusov plugs his ears, not wanting to listen to Chatsky's "lying ideas", that is, he becomes deaf of his own free will. At the ball to the Countess-grandmother, "her ears were clogged," she also notes that "deafness is a great vice." At the ball, Prince Tugoukhovsky is present, who “hears nothing”. Finally, Repetilov plugs his ears, unable to endure the choral recitation of the princesses Tugoukhovsky about Chatsky's madness. The deafness of the characters here has a deep inner connotation. Famus society is "deaf" to Chatsky's speeches, does not understand him, does not want to listen. This motive intensifies the contradictions between the main character and the world around him.

It is worth noting the presence of parody situations in the play. Thus, Sophia's “ideal romance” with Molchalin is parodically reduced by the comparison of Lisa, who recalls Sophia's aunt, from whom a young Frenchman fled. However, in "Woe from Wit" there is also a comedy of a different kind, which is a mockery of the vulgar sides of life, the exposure of the contemporary dramatist of society. And in this regard, we can already talk about satire.

In Woe from Wit, Griboyedov denounces social vices - bureaucracy, respect for rank, bribery, serving “persons” and not “business,” hatred of education, ignorance, careerism. Through Chatsky's lips, the author reminds his contemporaries that there is no social ideal in his own country:

Where? show us, fatherland fathers,
Which ones should we take for samples?
Aren't they rich in robbery?
They found protection from court in friends, in kinship,
Magnificent chambers built
Where they are poured in feasts and prodigality,
And where foreign clients won't resurrect
The most vile traits of the past.

The hero of Griboyedov criticizes the stagnant views of Moscow society, its mental immobility. He also speaks out against serfdom, recalling the landowner who exchanged his servants for three greyhounds. Chatsky sees "weakness" and "misery" behind the magnificent, handsome uniforms of the military. Nor does he recognize the "slavish, blind imitation" of everything foreign, manifested in the dominance of the French language. In Woe From Wit, we find references to Voltaire, the Carbonari, the Jacobins, and we find discussions about the problems of the social order. Thus, Griboyedov's play touches upon all the burning issues of our time, which allows critics to consider the work a "high", political comedy.

And finally, the last aspect in considering this topic. What is the drama of the play? First of all, in the emotional drama of the protagonist. As noted by I.A. Goncharov, Chatsky “got to drink a bitter cup to the bottom - not finding any“ living sympathy ”in anyone, and leave, taking with him only“ a million torments ”. Chatsky rushed to Sophia, hoping to find understanding and support from her, hoping that she would reciprocate his feelings. However, what does he find in the heart of his beloved woman? Coldness, acrimony. Chatsky is stunned, he is jealous of Sophia, trying to guess his opponent. And he cannot believe that his beloved girl preferred Molchalin. Sophia is annoyed by Chatsky's barbs, his manners, behavior.

However, Chatsky does not give up and in the evening comes back to Famusov's house. At the ball, Sophia spreads gossip about Chatsky's madness, all those present readily pick it up. Chatsky enters into a skirmish with them, makes a hot, pretentious speech, denouncing the meanness of the "past life." In the finale of the play, the truth is revealed to Chatsky, he finds out who his rival is and who spread rumors about his madness. In addition, the whole drama of the situation is aggravated by Chatsky's alienation from the people in whose house he grew up, from the whole society. Returning "from distant wanderings", he does not find understanding in his homeland.

Dramatic notes are also heard by Griboyedov in the depiction of the image of Sofya Famusova, who gets her “million torments”. She bitterly regrets, having discovered for herself the true nature of her chosen one and his real feelings for her.

Thus, Griboyedov's play Woe from Wit, traditionally considered a comedy, represents a certain genre synthesis, organically combining the features of a comedy of characters and a sitcom, features of a political comedy, topical satire, and finally, a psychological drama.

Statements about the genre of comedy

1) IA Goncharov: "... The comedy" Woe from Wit "is both a picture of morals, and a gallery of living types, and an eternally sharp, burning satire, and at the same time a comedy, and let's say for ourselves - most of all comedy - which can hardly be found in other literatures ... "

2) AABlok: "Woe from Wit" ... - a genius Russian drama; but how strikingly random it is! And she was born in some kind of fabulous setting: among Griboyedov's plays, quite insignificant; in the brain of a Petersburg official with Lermontov's bile and anger in his soul and with an immobile face in which "there is no life"; not enough of this: an unkind man with a cold and thin face, a venomous mocker and a skeptic ... wrote the most brilliant Russian drama. Having no predecessors, he had no equal followers. "

3) N.K.Piksanov: “In essence,“ Woe from Wit ”should be called not a comedy, but a drama, using this term not in its generic, but in its specific, genre meaning.<...>
Realism "Woe from Wit" is the realism of a high comedy-drama, a strict, generalized, laconic, economical style to the last degree, as if uplifted, enlightened. "

4) A.A. Lebedev: "Woe from Wit" is all imbued with the element of laughter, in its various modifications and applications ... The element of the comic in "Woe from Wit" is a very complex and contradictory element ... Here a complex fusion of the most diverse elements, sometimes barely compatible, sometimes contrasting: here and "light humor", "quivering irony", even "kind of caressing laughter" and then "caustic", "bile", satire.
... The tragedy of the mind, which is discussed in the comedy of Griboyedov, is illuminated wittily. Here on this sharpest edge of contact tragic element with comic in "Woe from Wit" a kind of subtext of the author's own perception of everything that happens ... "

Arguments for Comedy

1. Techniques for the comic:

a) The main technique used in Griboyedov's comedy is comic inconsistencies :
Famusov (the manager is in the official place, but he is negligent in his duties):

Comic inconsistencies in speech and behavior:

Skalozub (the character of the hero does not correspond to his position and the respect that is shown to him in society):

There are also contradictions in the statements of other characters in the comedy about him: on the one hand, he “never uttered a clever word”, on the other, “he was a golden bag and was aiming at generals”.

Molchalin (mismatch of thoughts and behavior: cynic, but outwardly obsequious, courteous).

Khlestovoy:

Lisa about love for Sophia:

Chatsky (the discrepancy between the mind and the funny situation in which he finds himself: for example, speeches addressed to Sophia, Chatsky utters at the most inopportune moment).

b) Comic situations: "conversation of the deaf" (dialogue between Chatsky and Famusov in Act II, Chatsky's monologue in Act III, conversation of the Countess-grandmother with Prince Tugoukhovsky).

c) The comic effect creates parody image Repetilova.

d) Reception grotesque in the dispute of the guests of Famusov about the reasons for Chatsky's madness.

2. Language "Woe from Wit" - comedy language (colloquial, accurate, light, witty, sometimes harsh, rich in aphorisms, energetic, easy to remember).

Arguments for Drama

1. Dramatic conflict between the hero and society.
2. The tragedy of Chatsky's love and Sophia's love.

Article menu:

The writers of the pen are one of the most unique people on the planet, they know how to create a multifaceted masterpiece based on a short situation. Almost the same fate befell Griboyedov's comedy Woe from Wit.

The history of the creation of the work "Woe from Wit"

Once Griboyedov happened to attend one of the dinner parties in aristocratic circles. There he witnessed an unusual picture: one of the guests was a foreign citizen. The aristocrats highly appreciated everything abroad, they wanted to resemble them as much as possible, so any contact with foreign guests, especially those of noble birth, was flattering for representatives of high society. Therefore, the entire time of the dinner was devoted to reverent attitude towards the foreign guest - Griboyedov, who perceived as hostile the attempts of the Russian aristocracy to get everything foreign, including behavior, language and everyday life, could not miss the moment and not speak out on this matter.

We suggest that you familiarize yourself with the comedy “A. Griboyedov "Woe from Wit".

Naturally, his speech was not heard - the aristocrats considered Griboyedov to be out of his mind and immediately spread a rumor about his mental illness with joy. Outraged Alexander Sergeevich then decided to write a comedy in which he would denounce all the vices of an aristocratic society. It happened in 1816.

Comedy publication history

However, Griboyedov began to create a work after some time. In 1823, the first fragments of the comedy were ready. Griboyedov from time to time presented them to the society, first in Moscow, then in Tiflis.

There were also difficulties with the publication for a long time - the text was repeatedly censored and, as a result, revised and revised. Only in 1825 were fragments of the work published.

During Griboyedov's lifetime, his work was never fully published - in the hope that his friend Bulgarin will help in this, Alexander Sergeevich gives him the manuscript of his comedy, which at that time was called "Woe of the Wit", but no publication followed.

Four years after the death of Griboyedov (in 1833), "Gore" still saw the light of day. However, the text of the comedy was distorted by the editorial and censorship commission - there were too many moments in the text that were inadmissible for publication. Only in 1875 was the work published uncensored.

Comedy heroes

All the characters in the play can be divided into three categories - major, minor and tertiary.

The central characters of the comedy include Famusov, Chatsky, Molchalin and Sofya Pavlovna

• Pavel Afanasevich Famusov - an aristocrat by birth, manager of a government agency. He is a dishonest and corrupt official; as a representative of society, he is also far from ideal.
• Sofia Pavlovna Famusova - the young daughter of Famusova, despite her young age, she is already actively using the tricks adopted in aristocratic circles - the girl loves to play with the feelings of other people. She likes to be in the spotlight.
• Alexander Chatsky - hereditary aristocrat, orphan. He was taken up by Famusov after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
• Alexey Stepanovich Molchalin - Famusov's secretary, a man of ignoble birth, who, thanks to Famusov's actions, acquires a noble rank. Molchalin is a vile and hypocritical person who is driven by a desire to break into aristocratic circles at any cost.

The secondary characters include the images of Skalozub, Liza and Repetilov.

• Sergey Sergeevich Skalozub - a nobleman, a young officer who is only interested in promotion.
• Repetilov - an old friend of Pavel Afanasyevich, a hereditary nobleman.
• Liza - a servant in the Famusovs' house, with whom Molchalin is in love.

TO actors of third-rate significance are the images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countess Khryumins and Petrushka - all of them briefly act in the play, but thanks to their social position they help to depict an accurate and unclear picture.

The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his teacher Famusov in order to marry his daughter, with whom he has long been in love, Sophia.

In Famusov's house, Chatsky notices that during his absence, the vices of the aristocracy only worsened. Young man the self-interest and calculation of representatives of high society is surprising. Aristocrats, instead of setting an example of humanism and honesty, are setting an example of bribery and public play - this discourages Chatsky. The ideal of behavior in the highest circles has become servility - for aristocrats it has become unimportant to serve - now it is in fashion to serve. Exposing the opposite position of Chatsky in relation to Famus society becomes the main reason why he cannot claim Sonya's hand.

We suggest that you familiarize yourself with the comedy "Woe from Wit" A. Griboyedov.

Alexander still does not lose hope. He thinks that the girl's favor will be able to change the situation, but here too, Chatsky will be disappointed - Sonya actually loves not him, but her father's secretary.

However, Sonya is in no hurry to refuse Chatsky - she hides the true state of affairs from Chatsky and pretends that Alexander's sympathy is pleasant to her. In addition, the girl spreads rumors that

Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing left for Alexander is to leave Moscow.

Poetic meter and verse features of the play

Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (in contrast to the traditional Alexandrian verse, which provided for the use of six-foot iambic) - periodically Alexander Sergeevich changes the number of feet. Their number varies from one to six.

The rhyme system is also not stable. In the play, you can see virtually all options - steam room, cross, belted. In addition, Griboyedov uses an inner rhyme.

Themes and problems of the play

The main conflict of the play is determined by the confrontation between the "present century" and the "past century". Such a concept is not limited solely to the attitude towards service and the prosperity of a person - under these phrases a large array of problems is hidden.

First of all, the problem of the type of human activity and their distribution into noble occupations (civil service in government agencies and military service) and shameful (writing, scientific activity).

The second problem of the play was the glorification of podliz - authority and respect in society are earned not by valiant service or roughly performed work, but by the ability to please the higher leadership.

The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.

The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to deceive and deceive for the sake of gaining some benefits. Few people are ready to express their true opinion, especially if it does not coincide with the opinion of the majority.

Most people become dependent on the opinions of others, they are ready to build their lives guided not by convenience, but by tradition, even when it significantly complicates their life.

The problem of selfishness has become the reason for the emergence of duplicity on the love front - it has become out of fashion to be one-man.

Genre of the work "Woe from Wit"

The peculiarities of the themes and problems of the play have become the reason for the emergence of discussion in literary circles about the genre "Woe from Wit". Researchers are divided on this issue.

Some believe that it is correct to assign the genre of comedy to a work, while others are sure that such a problem is typical of dramatic works.

The main reason for defining the play as a drama is the global nature of the problem raised. The play's conflict is built on a deep sense of frustration, which is not typical of comedy. The comic elements that are present in the description of the characters' characters are minimal and, according to the researchers, are used to enhance the dramatic function in the text.

Proceeding from this position, along with proposals to define the genre as comedy or drama, proposals for mixing genres began to appear in the course of the discussion. So, for example, N.I. Nadezhdin designated it as a satirical picture.

N.K. Piskanov, analyzing the features of the play, came to the conclusion that it is impossible to determine its genre precisely - literary scholars have every reason to designate it as a social drama, a realistic everyday play, psychological drama, and even a musical drama (based on the features of the play's verse).

Despite all the discussions, Griboyedov's play "Woe from Wit" continues to be called a comedy. This is primarily due to the fact that Alexander Sergeevich himself designated the genre of his work in this way. Although the elements of the comic are not widely used in the play, and its structure and plot features are far from the traditional comic, the influence of satire and humor still had a noticeable place in the play.

Thus, the play by A.S. Griboyedov's "Woe from Wit" is a multifaceted and extensive work.

The variety of themes and problems of the play, as well as the ways of depicting the essence of the conflict, caused a discussion in the genre of the play.

The problems and topics raised by Griboyedov can be classified as “eternal” topics that never lose their relevance.

The main idea of \u200b\u200bthe work "Woe from Wit" is an illustration of meanness, ignorance and servility to the ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The main character Chatsky acted in the play as a representative of the very democratic society of young people who threw down an open challenge to conservatives and serf-owners. All these subtleties that raged in social and political life, Griboyedov managed to reflect on the example of the classic comedic love triangle. It is noteworthy that the main part of the work described by the creator takes place during just one day, and the characters themselves by Griboyedov are displayed very vividly.

Many of the writer's contemporaries honored his manuscript with sincere praise and stood up to the tsar for permission to publish the comedy.

The history of writing the comedy "Woe from Wit"

The idea of \u200b\u200bwriting the comedy "Woe from Wit" visited Griboyedov during his stay in St. Petersburg. In 1816 he returned to the city from abroad and found himself at one of the social events. He was deeply indignant at the craving of the Russian people for a foreigner, after he noticed that the nobility of the city bows before one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the invitees, who did not share his beliefs, retorted that Griboyedov was crazy.

The events of that evening formed the basis of the comedy, and Griboyedov himself became the prototype of the main character, Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Ermolov, and in Moscow.

In 1823, work on the play was completed, and the writer began to read it out in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully sold in the form of lists among the reading population, but it was first published only in 1833, after the petition of the minister Uvarov to the tsar. The writer himself was no longer alive by that time.

Analysis of the work

The main plot of the comedy

The events described in the comedy take place at the beginning of the 19th century, in the house of the capital's official Famusov. His young daughter Sophia is in love with Famusov's secretary, Molchalin. He is a calculating man, not rich, occupying a small rank.

Knowing about Sophia's passions, he meets with her of convenience. One day, a young nobleman Chatsky, a family friend who has not been to Russia for three years, comes to the Famusovs' house. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.

Sophia's father is a man of the old way and views. He subservience to the ranks and believes that the young should please the authorities in everything, not express their opinion and serve their superiors with selflessness. Chatsky, in contrast, is a witty young man with a sense of pride and a good education. He condemns such views, considers them stupid, hypocritical and empty. Heated disputes arise between Famusov and Chatsky.

On the day of Chatsky's arrival, the invited guests gather in Famusov's house. During the evening, Sophia spreads the rumor that Chatsky has gone mad. Guests, who also do not share his views, actively embrace this idea and unanimously recognize the hero as crazy.

Finding himself a black sheep at the evening, Chatsky is going to leave the Famusovs' house. While waiting for the carriage, he hears the secretary of Famusov confess his feelings to the servant of the masters. Sophia also hears this, who immediately drives Molchalin out of the house.

The denouement of the love scene ends with Chatsky's disappointment in Sophia and high society. The hero leaves Moscow forever.

Heroes of the comedy "Woe from Wit"

it main character comedy Griboyedov. He is a hereditary nobleman, who owns 300 - 400 souls. Chatsky became an orphan early, and since his father was a close friend of Famusov, from childhood he was brought up with Sophia in the Famusovs' house. Later he became bored with them, and at first he settled separately, and after that he left to wander around the world.

Since childhood, Chatsky and Sophia were friends, but he had not only friendly feelings for her.

The main character in Griboyedov's comedy is not stupid, witty, eloquent. A lover of ridicule of the stupid, Chatsky was a liberal who did not want to bow before his superiors and serve the higher ranks. That is why he did not serve in the army and was not an official, which is a rarity for the era of that time and his lineage.

Famusov is an aged man with gray hair at the temples, a nobleman. For his age, he is very cheerful and fresh. Pavel Afanasyevich is a widower, of the children he has the only Sophia, 17 years old.

The official is in the civil service, he is rich, but at the same time windy. Famusov does not hesitate to stick to his own maids. His character is explosive, restless. Pavel Afanasevich is grumpy, but with the right people, he knows how to show due courtesy. An example of this is his communication with the colonel, to whom Famusov wishes to marry his daughter. For the sake of his goal, he is ready for anything. Submission, subservience to ranks and servility are characteristic of him. He also values \u200b\u200bthe opinion of society about himself and his family. The official does not like reading and does not consider education to be something very important.

Sophia is the daughter of a wealthy official. Nice and educated in the best rules of the Moscow nobility. Left early without a mother, but under the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, windy and easily carried away by young men. At the same time, she is gullible and very naive.

During the play, it is clear that she does not notice that Molchalin does not love her and is with her because of her own benefits. Her father calls her a shameless woman, while Sophia herself considers herself an intelligent and not a cowardly young lady.

Famusov's secretary who lives in their house is a single young man from a very poor family. Molchalin received his title of nobility only during the service, which was considered acceptable at that time. For this, Famusov periodically calls him rootless.

The hero's surname, as well as possible, corresponds to his character and temperament. He doesn't like to talk. Molchalin is a narrow-minded and very stupid person. He behaves modestly and quietly, honors ranks and tries to please everyone who is around him. Does it solely for the benefit.

Alexey Stepanovich never expresses his opinion, due to which those around him consider him to be a quite nice young man. In fact, he is sneaky, unprincipled and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the servant Liza. Admitting this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.

Skalozub is a minor character in the comedy, he is an inactive colonel who wants to become a general.

Pavel Afanasevich refers Skalozub to the category of enviable Moscow suitors. According to Famusov, a wealthy officer with weight and status in society is a good game for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergei Sergeevich joins Chatsky's speech with absurd reasoning. They betray his ignorance and ignorance.

The maid Lisa

Lizanka is an ordinary servant in the Famus house, but at the same time she occupies a rather high place among others literary characters, and quite a lot of different episodes and descriptions are assigned to it. The author describes in detail what Lisa does and what and how she speaks. She forces other characters in the play to confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.

Mr. Repetilov appears in the fourth act of the piece. This is a minor, but vivid character of the comedy, invited to the ball to Famusov on the occasion of the birthday of his daughter Sophia. His image characterizes a person who chooses an easy path in life.

Zagoretsky

Anton Antonovich Zagoretsky is a secular revelry without ranks and honors, but who knows how and loves to be invited to all receptions. At the expense of his gift - to be pleasing to the court.

Hurrying to visit the center of events, "as if" from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, his own person, is invited to an evening at the Faustuvs' house. From the very first seconds of the action with his persona it becomes clear - Zagoretsky is still a "shot".

Madame Khlestova is also one of minor characters comedy, but still her role is very colorful. This is a woman of advanced years. She is 65 years old. She has a Pomeranian dog and a dark-skinned maid - arap. Khlestova is aware of the latest gossip of the court and willingly shares her own stories from life, in which she easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy "Woe from Wit" Griboyedov used a technique typical of this genre. Here we can see a classic storyline where two men are competing for the hand of one girl. Their images are also classic: one is modest and respectful, the second is educated, proud and confident in his own superiority. True, in the play, Griboyedov placed accents in the character of the heroes a little differently, making it attractive for that society, namely Molchalin, and not Chatsky.

Over the course of several chapters of the play, there is a background description of life in the Famusovs' house, and only in the seventh phenomenon does the plot of a love story begin. A long enough detailed description in the course of the play tells only one day. Long-term development of events is not described here. There are two plot lines in the comedy. These are conflicts: love and social.

Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, towards whom, already the reader has an unpleasant attitude, but he does not cause obvious disgust. It is interesting to watch him in various episodes.

In the play, despite taking the fundamental constructions, there are certain deviations for plotting the plot, and it can be clearly seen that the comedy was written at the junction of three literary eras at once: flourishing romanticism, nascent realism and dying classicism.

Griboyedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plotting techniques in a non-standard framework for them, it reflected the obvious changes in society, which were then just emerging and sprouting.

The work is also interesting in that it is strikingly different from all other works written by Griboyedov.